The J.J. Abrams Thread

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Re: JJ Abrams’ Cloverfield Universe

Postby mr.negativity » Tue Feb 06, 2018 10:34 pm

THR FEBRUARY 06, 2018:
Sources: Netflix Paid Paramount More Than $50 Million for 'Cloverfield Paradox'
Borys Kit & Pamela McClintock wrote:Super Bowl viewers were shocked when Netflix dropped an ad for The Cloverfield Paradox, revealing that the J.J. Abrams-produced movie heretofore known as God Particle would forgo a theatrical release and instead debut on the streaming service immediately following the big game Feb. 4.

The marketing stunt capped a rescue plan hatched by Abrams, Paramount chairman-CEO Jim Gianopulos, Netflix chief Ted Sarandos and head of original films Scott Stuber, among others.

Worried that Paradox would perish at the box office — it was set to hit theaters April 20 after several delays — Paramount and Abrams handed it to Netflix, which is willing to shell out big bucks for high-profile content.

The deal, broached over the holidays and finalized in January, is worth north of $50 million, sources tell The Hollywood Reporter, with Paramount retaining rights for China and home entertainment.

It makes the movie instantly profitable for the studio, which avoids a (likely) misfire and costly marketing campaign. And Netflix got what it was looking for, regardless of withering reviews (18 percent on Rotten Tomatoes at press time): buzz.

“It gets them attention and captures some viewing right off the bat,” says eMarketer’s Paul Verna. And even if the streamer doesn’t ultimately get the viewership it hoped for Paradox, “they still got a brand jolt,” he adds.

Paradox, which finished principal photography in September 2016, was part of the successful and popular Cloverfield series, but sources say Gianopulos, who joined the studio six months later, was worried.

Despite additions to clarify character beats and tie the film to the franchise’s universe, it was ultimately deemed unsalvageable despite a cast led by Gugu Mbatha-Raw, Elizabeth Debicki, David Oyelowo and Daniel Bruhl.

Netflix was an obvious destination, having already taken over international rights to the Natalie Portman starrer Annihilation, which Paramount will release domestically Feb. 23.

Paramount retains the rights to future Cloverfield installments. Overlord, a World War II zombie film from Abrams that scored high in two recent test screenings, could be a contender, although sources say that its fate is still undetermined.



The Wrap February 6, 2018:
Paramount to Release JJ Abrams’ ‘Overlord’ Despite Shuffling ‘Cloverfield Paradox’ to Netflix
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Re: JJ Abrams’ Cloverfield Universe

Postby jellydonut25 » Fri Feb 09, 2018 10:50 am

I'd heard Paradox was bad but after seeing it...wow.

First of all, anyone who says it's bad is over-selling how worthy it is of viewing, probably just because the last shot IS in fact so stupid it makes you laugh at what is now the laziest expanded universe in movie history. It's just flat-out BORING. Script-wise, it's honestly on-par with a theoretical mash-up of two theoretical SyFy originals named "Horizon Event" and "Gravitation." Yeah, it's basically just a BORING version of Gravity via Event Horizon, with a few other "things are going wrong in space" movies sprinkled in. I really struggled to stay awake.

Characters make no sense, plot lines are half-developed, and some of the dialogue is so eye-rollingly bad I thought they'd tumble right out of my skull (and I honestly don't know what Daniel Bruhl was doing here; I usually like him but he was terrible in this).

As for the ending and the way this reconciles the previous films:
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1.5/5. I've now seen two movies I expect to be on my bottom 5 of 2018, and they were both presented by Netflix....and we're only like 40 days into the year.
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Re: JJ Abrams’ Cloverfield Universe

Postby Gargantuan Gargantua » Fri Feb 09, 2018 9:08 pm

I thought the movie was meh to watch if you don't have expectations. Which I had none. The shoehorning of Cloverfield bits was stupid as hell. I really would have liked to have seen a real sequel/prequel/anything to Cloverfield but now I feel they should just leave it alone. Leave it up to the imagination to fill in the blanks. 10 Cloverfield lane at least was a very watchable movie. This was uninspiring and not engaging to watch.

Spoiler Below:
I only liked it when Crouching Tiger girl froze when the airlock busted open. It was a solid effect.
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Re: JJ Abrams’ Cloverfield Universe

Postby Mac » Sat Feb 10, 2018 3:53 pm

This was really bad.
The new Gamera will be worse than Super Monster.
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Re: ‘A Quiet Place’

Postby mr.negativity » Mon Apr 09, 2018 10:47 am

COLLIDER APRIL 9, 2018:
‘A Quiet Place’ Writers Considered Making the Film a ‘Cloverfield’ Movie
ADAM CHITWOOD wrote:Writers Scott Beck and Bryan Woods revealed that during development, they themselves considered pitching A Quiet Place as a movie taking place within the Cloverfield universe. Speaking with /Film, Beck says it was Paramount Pictures that nixed the idea:
“That was one of those things that, I guess it crossed our mind and we had spoken to our representatives about that possibility. It was weird timing, though, because when we were writing the script, 10 Cloverfield Lane was at Paramount. We were actually talking to an executive there about this film, and it felt from pitch form that there might be crossover, but when we finally took the final script in to Paramount, they saw it as a totally different movie. What was really incredible about the process that we feel very grateful for is the studio embraced this weird movie with no dialogue with open arms. They never thought about branding it as a Cloverfield film, I think in part because conceptually it was able to stand on its own.”
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Re: ‘Overlord’

Postby mr.negativity » Wed Jul 18, 2018 10:40 am

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Re: JJ Abrams’ Cloverfield Universe

Postby jellydonut25 » Wed Jul 18, 2018 11:45 am

I heard Overlord might not be "in" the Cloverfield universe...whatever that even means.

Trailer looks pretty generic though.
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Re: JJ Abrams’ Cloverfield Universe

Postby Dai » Wed Jul 18, 2018 2:59 pm

Nazi zombies? Again?
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Re: JJ Abrams’ Cloverfield Universe

Postby klen7 » Wed Jul 18, 2018 3:44 pm

jellydonut25 wrote:Trailer looks pretty generic though.

:shock:
I thought the setting and cast looked pretty fresh
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Re: The J.J. Abrams Thread

Postby mr.negativity » Thu Sep 12, 2019 3:11 pm

THR, JUNE 17, 2019:
J.J. Abrams Bidding War Won by WarnerMedia as Bad Robot Nears $500M Partnership

THR, SEPTEMBER 12, 2019:
J.J. Abrams Officially Closes Sizable WarnerMedia Film, TV Partnership
Lesley Goldberg wrote:It's official: J.J. Abrams has solidified his future at WarnerMedia.

Abrams and his wife and Bad Robot co-CEO, Katie McGrath, have inked a new five-year, all-encompassing overall deal with WarnerMedia. The agreement — which multiple sources say is worth more in the line of $250 million as opposed to the previously reported $500 million estimate — marks the first time that Abrams has had both his film and TV deals under the same roof. The new pact, which runs through 2024 and is described as "exclusive," also for the first time includes video games and digital content. Abrams is expected to create original feature films for WarnerMedia.

The formal announcement comes more than three months after The Hollywood Reporter broke the news that WarnerMedia had won the sweepstakes for Abrams and Bad Robot's services following a nearly yearlong courting process that was shrouded in secrecy during which multiple suitors pursued the prolific producer.

Still to be determined is if Abrams will have the opportunity to pursue feature film directing jobs for studios other than Warner Bros. Pictures, though sources stress Abrams will honor pre-existing commitments to his former feature home Paramount and previously announced deals covering Star Wars. Also unclear is if WarnerMedia landed an investment stake in Bad Robot, though multiple sources say that's a distinct possibility.

Bad Robot's deal keeps Abrams at the studio he has called home since 2006. With the new contract, Abrams and company will continue to create and develop new projects for WarnerMedia and supervise other producers across film, TV and digital platforms. The deal will also continue to let Bad Robot sell to third-party suppliers — a detail said to be of the utmost importance to Abrams.

The months-long process of moving Bad Robot's feature film deal over from Viacom-owned Paramount Pictures began in June and was recently completed, which prompted the official announcement from the media behemoth. "It's bittersweet to be leaving our longtime moviemaking home, Paramount Pictures," Abrams said in a statement to THR. "It's been an unforgettable ride. We are incredibly grateful to the studio team — past and present — especially the incomparable Jim Gianopulos and the super talented Liz Raposo. We still have a number of great stories to tell together, and for that, I feel exceedingly lucky."

Sources say WarnerMedia CEO John Stankey made courting Bad Robot his top priority. In its decision to stay, Bad Robot turned down more lucrative offers from tech companies and were impressed with Stankey and his ability to deliver such a wide-ranging deal. The courting process saw Bad Robot pitch itself to companies such as Disney, Netflix and Apple as a larger consumer brand and seek, with traditional studios, a guaranteed number of releases per year.

"WarnerMedia and AT&T are delighted to launch a long-term collaboration with our world-class partners and colleagues J.J. Abrams and Katie McGrath. We are extremely excited about the potential to deliver remarkable and memorable stories and characters across multiple platforms to audiences around the world. J.J., Katie and all of Bad Robot bring extraordinary vision, exquisite filmmaking and exemplary industry leadership to this endeavor and our company," Stankey said. "Across all forms of content, we are uniquely positioned to offer our creative partners a multitude of platforms to realize their artistic goals and ambitions and to ensure that their stories have the best possible opportunity to connect with the right audience. I'd also like to recognize the leadership of Warner Bros. Television Group president and chief content officer Peter Roth, who has known J.J. and Katie for many years and developed opportunities that turned into a longstanding, mutually beneficial partnership, which will now flourish for many years into the future across the entire WarnerMedia and AT&T family."

Abrams and Bad Robot's pact officially has the prolific producer in the same financial vicinity as Greg Berlanti ($400 million from Warners), Ryan Murphy ($300 million from Netflix) and Shonda Rhimes ($100 million from Netflix). The biggest difference separating the Bad Robot deal from Berlanti's and Murphy's is the lack of a library backend to buy out. Warners, for example, bought out Berlanti's backend points on shows such as Arrow and The Flash. Still, while sources say the deal is valued at $250 million, it could reach the billions should Abrams successfully create an original feature film franchise. Similar to TV backend points, the WarnerMedia content agreement includes sizable financial incentives in Abrams-created feature films. That is said to have been a key point in the deal-making process.

Abrams and Bad Robot were considered the biggest fish in the insanely competitive overall-deal waters. Multiple studios and streamers at least kicked the tires or engaged in a hypercompetitive effort to woo Abrams and McGrath on a possible rich pact for the company behind hits that include HBO's Westworld and Hulu's Castle Rock, among others. Netflix, Apple, Amazon and fellow media titans WarnerMedia, Comcast and Sony Entertainment were among those who, sources say, met or explored a deal with Bad Robot. Sources say Abrams and Bad Robot execs, including head of television Ben Stephenson, took meetings all over town as they considered moving their overall deal from Warner Bros. TV, where the company behind Fringe has been based since 2006. While outlets like Apple and Sony came close, sources stress that WarnerMedia emerged on top in the spring when it became apparent that Bad Robot prioritized being part of a larger company with TV and film distribution — including WarnerMedia's forthcoming SVOD service, HBO Max.

WarnerMedia, now under the leadership of Stankey, is among the companies that pulled out all the stops in a bid to keep Abrams in-house. According to multiple sources, one big consideration weighing on Stankey was a desire to keep his prized producer within the company fold. Sources say McGrath — who is also a founding member of Time's Up — conveyed to Stankey in no uncertain terms that Warner Bros. CEO Kevin Tsujihara's continued presence was a "values" issue as she and Abrams explored their company's options. Tsujihara stepped down March 18 following The Hollywood Reporter's publication of texts revealing that the executive had engaged in an affair with British actress Charlotte Kirk and then attempted to help her land roles in Warners' television shows and movies.

Further complicating the bidding process was the ongoing war between the Writers Guild of America and agencies over packaging fees and affiliated studios. Abrams and Bad Robot stopped working with representatives at CAA in all areas save for directing. With CAA no longer leading the charge, the process had slowed considerably and dragged into the spring and early summer, but sources say Abrams continued to meet with Warner Bros. TV Group president Peter Roth and Stankey, with whom he has had an ongoing relationship.

"It is a thrill for Katie, Brian [Weinstein] and me and the rest of our team at Bad Robot to call WarnerMedia our company's new home," Abrams said. "John Stankey has a powerful vision for the future of WarnerMedia and is committed to storytelling that connects people around the world. We are excited and gratified to be a part of this new chapter under his and Ann Sarnoff's thoughtful leadership. I could go on for hours, and probably will, about the extraordinary Peter Roth and the entire Warner's television group, with whom we've worked for over a decade, and I've wanted to collaborate with Toby Emmerich and his team for as long as I can remember. I am grateful for the chance to write, produce and direct work for this incredible company and to help create films and series with a diverse and vast collection of inspiring storytellers. We can't wait to get started."
Abrams, who is currently editing Star Wars: The Rise of Skywalker — the final installment in the Skywalker saga — for Disney, was among the top producers in Warners' TV fold at a time when brand-name showrunners are in increasingly high demand. Warners, Comcast and Disney are planning streaming services in a bid to compete with Netflix, Amazon and Apple. Netflix helped explode the market for proven hitmakers when it signed Rhimes and, later, Murphy, to nine-figure overall deals, prompting both producers to exit their respective longtime homes at ABC Studios and 20th Century Fox Television. Between the ramp-up for content produced in-house for those forthcoming streaming platforms and the feud between writers and agents, demand for top writers and producers has further elevated these already jaw-dropping pacts for top creators. The market for such creators has also grown so fierce that some showrunners are now signing multiple TV deals — offering their services exclusively to broadcast and streaming.

On the TV side, Abrams is prepping an HBO drama, Lovecraft Country (with Jordan Peele), and executive produces Castle Rock and Westworld alongside showrunners Lisa Joy and Jonah Nolan. (The latter duo exited their longtime home at Warners for a lucrative five-year, $150 million deal with Amazon Studios.) Abrams also is working on Demimonde, the first series he has written and created since Alias (which also recently changed showrunners). The genre drama landed at HBO following a multiple-outlet bidding war, with the premium cabler also acquiring the hot script They Both Die at the End from Abrams and The Other Two breakout Chris Kelly. Abrams and Bad Robot also have three shows in the works at Apple: the Stephen King adaptation Lisey's Story, starring Julianne Moore; Sara Bareilles' Little Voice; and the Jennifer Garner vehicle My Glory Was I Had Such Friends. All three were picked up straight to series amid competition from multiple outlets, with Apple also making an aggressive play for Bad Robot. The company also launched its video game division, Bad Robot Games, in 2018 in partnership with Tencent and Warner Bros. Interactive Entertainment.

All of those projects are produced by Warner Bros. TV, which last year extended megaproducer Berlanti with an overall deal said to be worth $400 million. Berlanti presently holds the TV record for the most scripted originals currently airing (19 across seven outlets and more in the works). His deal also includes financial incentives when he reaches increasing numbers of shows.

With WarnerMedia expected to unveil its direct-to-consumer subscription platform in the fourth quarter (in beta), keeping Abrams in the fold was considered a high priority for the independent studio. Following the departure of Joy and Nolan to Amazon, re-upping Bad Robot was increasingly important to the studio, which continues to aggressively pursue top talent. The studio recently signed Mindy Kaling and Ava DuVernay to rich overall deals. For its part, Warners promoted Susan Rovner and Brett Paul to presidents of the TV studio as they take over day-to-day oversight of the unit from longtime exec Roth. Roth, who remains under contract through 2020, will continue to serve on the Warner Bros. interim leadership team alongside Toby Emmerich and Kim Williams during the studio's search for an exec to replace the ousted Tsujihara. Next up for the studio will be inking mega-producer Chuck Lorre (The Big Bang Theory, Young Sheldon, Mom, The Kominsky Method) to a new pact as his overall with WBTV expires in June 2020.

Bad Robot is repped by Jackoway Austen.
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Re: The J.J. Abrams Thread

Postby mr.negativity » Thu Sep 12, 2019 3:13 pm

Deadline, September 12, 2019:
JJ Abrams’ Bad Robot Closes WarnerMedia Megadeal For Film & Television
Nellie Andreeva wrote:It’s done! JJ Abrams and his Bad Robot have closed a five-year deal for him to keep his TV business and move his film business under the WarnerMedia umbrella. The wide-ranging pact, which runs through 2024, also includes games and digital content.

The JJ Abrams Sweepstakes started last fall, with a number of media congloms vying for his services in an all-encompassing deal expected to reach as much as $500 million. By June, WarnerMedia emerged as the frontrunner thanks largely to the shorthand Abrams had developed with the Warner Bros TV team over the past 13 years, and a massive financial commitment by parent WarnerMedia. It took a couple of more months to seal the deal, largely over intricacies involving ending Abrams’ Paramount Pictures movie pact. Under his exit agreement, Bad Robot will honor its existing Paramount obligations.

In addition to WarnerMedia, Abrams and his team had engaged with Apple, which emerged as a formidable contender, Comcast/NBCUniversal and Sony, with talks slowing down after Abrams, along with 7,000 other WGA members, in April fired his agents at CAA in all areas except directing.

Abrams has long history at WarnerMedia as Bad Robot had been based at Warner Bros. TV since 2006, delivering a string of series. Of the company’s current shows, three are at WarnerMedia’s HBO, Westworld, Lovecraft and Demimonde, the first series Abrams has solely created since Alias, with the premium network also developing Bad Robot’s They Both Die At the End. The company also has three series at Apple TV+ via Warner Bros. TV, which also pursued aggressively the multi-hyphenated: the Stephen King adaptation Lisey’s Story, starring Julianne Moore; Sara Bareilles’ Little Voice; and My Glory Was I Had Such Friends, toplined by Jennifer Garner.

Abrams’ talks with Apple eventually evolved, focusing on continuing to work together not through an overall deal as the expectation was that the new WarnerMedia pact would keep allowing Bad Robot to produce for outside networks.

Indeed, under the new WarnerMedia overall deal, Bad Robot will continue to develop and produce new TV projects — including dramas and comedies, longform/event series, digital content and more — for all platforms, including premium/pay and basic cable networks, on-demand/streaming services, and the broadcast networks. These include WarnerMedia-affiliated networks and platforms such as HBO, HBO Max and more, as well as external outlets. Bad Robot’s series will continue to be produced in association with Warner Bros. Television, Warner Horizon Scripted Television or WBTVG’s digital studio Blue Ribbon Content, with Warner Bros. International Television Distribution distributing the shows around the globe.

On the feature side, Abrams and Bad Robot will develop original theatrical films for the divisions of the Warner Bros. Pictures Group, including Warner Bros. Pictures and New Line Cinema.

In 2018, Bad Robot, run by Chairman & CEO J.J. Abrams and co-CEO Katie McGrath, formed a video game development division Bad Robot Games, in association with Tencent and Warner Bros. Interactive Entertainment, and the companies will continue to work together on the creation of new large and indie consumer games for mobile, PC and console.

“WarnerMedia and AT&T are delighted to launch a long-term collaboration with our world-class partners and colleagues J.J. Abrams and Katie McGrath,” said John Stankey CEO of WarnerMedia and President and COO of parent AT&T. “We are extremely excited about the potential to deliver remarkable and memorable stories and characters across multiple platforms to audiences around the world.”

Stankey acknowledged Warner Bros. TV Group President and Chief Content Officer Peter Roth for developing “a longstanding, mutually beneficial partnership” with Abrams and McGrath.

In the era of giant TV overall deals, it is easier for incumbent studios to come up with competitive offers for prolific creators/producers as they often have the advantage of being able to sweeten their overall deal proposals with advances toward the producers’ backend.

In addition to Bad Robot’s current portfolio, which also includes Castle Rock on Hulu, the company’s 13-year collaboration with WBTVG to date yielded such series as Fringe (co-created by Abrams) for Fox and Person of Interest for CBS, both of which reached the 100-episode milestone, and event series 11.22.63 for Hulu.

This marks the second mega overall deal renewal for Warner Bros. TV, following the $400 million re-up for Greg Berlanti last year.

On the film side, Abrams is coming from an expensive overall deal at Paramount that paid off with the launch of the franchise Cloverfield, and the revival of Mission: Impossible and Star Trek. But it proved hard for that studio to have his allegiance as a filmmaker, the place Abrams has turned in some of his best results, which not unusual for A-list filmmakers. He has directed two Star Wars films for Disney while under the Paramount deal, the latest of which, Star Wars: The Rise of Skywalker, debuts December 20 to cap of what indisputably will be a record year for the studio.

Abrams’ has become more a re-fashioner of franchises than a world creator, and this deal is expected to serve as an opportunity for him to become the latter. While WarnerMedia doesn’t have the theme parks that Disney and Comcast have, Abrams will have full access to strong WarnerMedia platforms that include a fledgling streaming service, and he clearly has the potential to leave a strong mark on the studio in this deal.

“It is a thrill for Katie, Brian (Weinstein) and me and the rest of our team at Bad Robot to call WarnerMedia our company’s new home,” Abrams said. “John Stankey has a powerful vision for the future of WarnerMedia and is committed to storytelling that connects people around the world. We are excited and gratified to be a part of this new chapter under his and Ann Sarnoff’s thoughtful leadership. I could go on for hours, and probably will, about the extraordinary Peter Roth and the entire Warner’s television group, with whom we’ve worked for over a decade, and I’ve wanted to collaborate with Toby Emmerich and his team for as long as I can remember. I am grateful for the chance to write, produce and direct work for this incredible company, and to help create films and series with a diverse and vast collection of inspiring storytellers. We can’t wait to get started.”
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Re: The J.J. Abrams Thread

Postby mr.negativity » Fri Sep 13, 2019 10:20 am

THR, SEPTEMBER 13, 2019:
Apple Offered J.J. Abrams Far More Than WarnerMedia; Here's Why He Said No
Lesley Goldberg wrote:After a nearly year-long courting process that saw J.J. Abrams and his wife and Bad Robot partner Katie McGrath take meetings with tech giants and traditional studios, the duo ultimately opted to take less money than they could have earned to stay with WarnerMedia.

According to sources familiar with the deal, Bad Robot's five-year pact announced Thursday is worth at least $250 million and possibly much more thanks to various financial incentives. It will see Abrams and company develop and produce new film, TV, video game and digital projects for WarnerMedia's various divisions, which include Warner Bros., HBO and the upcoming HBO Max streaming service. Warners has been Abrams' television home since 2006, and the new partnership brings Bad Robot’s film output, which was through Paramount, under the same roof for the first time.

According to sources, the ability to sell product to other outlets — i.e. setting up Lisey's Story, one of his three shows at Apple via Warner Bros. TV — was paramount to Bad Robot signing anywhere. It also is among the reasons why Bad Robot left millions of dollars on the table and walked away from what could have been a record-setting blockbuster deal with Apple.

Abrams and McGrath are said to be interested in turning Bad Robot into a consumer brand, so they met with executives at Apple, including video heads Zack Van Amburg and Jamie Erlicht, to discuss the iPhone maker taking what could have been a large financial stake in their company. Bad Robot came to meetings armed with a hefty company valuation and had been seeking a financial arrangement that would have valued Abrams' future earning power in the range of $1 billion over an undisclosed period.

Apple, meanwhile, is said to have offered a deal in the $500 million range that would have seen Bad Robot set up shop exclusively at the Cupertino company. Several factors, however, led to Bad Robot's ultimate decision bypass the eye-popping deal. Among them was the hardware firm's desire to see Bad Robot create new projects only for Apple — meaning Abrams would not have been allowed to work on outside projects for companies like Disney (Star Wars) or Paramount (Star Trek) and TV projects would not be sold to third-party outlets. Also a concern was Apple's lack of a theatrical distribution model. A sizable chuck of Bad Robot's earnings come from the blockbuster features that Abrams directs (hence the $1 billion earnings estimate). Also a concern was Apple's lack of IP for Abrams to adapt for the company. Paramount, for instance, was able to offer Abrams the Star Trek film franchise, when he was under contract there. Some in the TV community were speculating in recent weeks that Abrams was on the 1-yard line with Apple for a $750 million to $1 billion deal but was unimpressed with its March "upfront" presentation in Cupertino and balked. (Sources close to Abrams and Apple categorically deny that his decision to sign with WarnerMedia had anything to do with that presentation.)

As for WarnerMedia, CEO John Stankey made it his personal mission to secure a new deal with Bad Robot. Sources say McGrath — who is also a founding member of Time's Up — conveyed to Stankey in no uncertain terms that Warner Bros. CEO Kevin Tsujihara's continued presence at the company was a "values" issue as she and Abrams explored their company's options. Tsujihara stepped down March 18 following The Hollywood Reporter publishing texts revealing that the executive had engaged in an affair with actress Charlotte Kirk and then attempted to help her land roles in Warners shows and movies.

With the values issue cleared, WarnerMedia offered a deep bench of IP for Abrams — who is also expected to create original franchises for film and television — and a longtime relationship with Warner Bros. TV Group president Peter Roth (whom Stankey and Abrams both singled out in Thursday's official announcement). The WarnerMedia pact is believed to include at least a partial equity stake in Bad Robot, though that fact — as well as if Abrams will be free to work on other features beyond his pre-existing deals — remain shrouded in secrecy. Sources familiar with the deal say it is less about money and more about the larger opportunities that come with an established media giant like WarnerMedia. Abrams is said to have wanted a set number of guaranteed slots on Warner Bros.' feature film release calendar, though it's unclear if that was included in the new agreement. With Warners, Abrams has the ability to create new features that could see his new deal reach the billions if he's able to create a successful franchise.

While Abrams' five-year, $250 million deal seems low compared to the $300 million and $400 million Ryan Murphy and Greg Berlanti received from Netflix and Warner Bros. TV, respectively, the ability to see that figure multiply is vast. (And it's worth noting that Berlanti and Murphy's deals were so rich because Warners and Netflix bought out the prolific producers' profit participation in multiple shows.)

At the end of the day, Stankey was able to sign the biggest film and TV producer on the planet, and Abrams and Bad Robot continue to have the ability to sell new projects to third-party outlets — and still earn that $1 billion.

Reps for Bad Robot, Apple and WarnerMedia declined to participate in this story.
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Re: The J.J. Abrams Thread

Postby mr.negativity » Tue Oct 29, 2019 11:49 pm

Deadline, October 29, 2019:
J.J. Abrams In Talks With HBO Max About New Projects & Why He Selected WarnerMedia As Bad Robot’s New Home
Anthony D'Alessandro wrote:The Stars Wars Force Awakens and Bad Robot boss took the stage at Warner Bros. Stage 21 to give praise to his new home, telling the crowd here that he’s in talks with HBO Max on a number of projects. Abrams didn’t unveil many details, but expressed excitement about getting his epic sci-fi fantasy drama Demimonde, off the ground as a pilot with HBO. Series is described as centering around a world’s battle against a monstrous, oppressive force.

“(AT&T President and WarnerMedia CEO) John Stankey blew us away with the ambition of what AT&T could do,” beamed Abrams about why he landed Bad Robot with the conglom in a half billion dollar deal after being courted by such studios as Comcast Universal, Sony and Apple.

“Every company is a just a collection of people, and the people here are as good as it gets” said Abrams.

“He makes me call him Mr Stankey,” quipped the director of the upcoming Star Wars: The Rise of Skywalker.

“I can’t say enough good things about Ann Sarnoff, Toby Emmerich, Bob Greenblatt, Peter Roth and Casey Bloys,” said Abrams who already has Westworld on the premium network and has the upcoming Jordan Peele Monkeypaw production Lovecraft Country which showed a trailer today. Set in the Jim Crow South with an American Horror Story like vibe, series stars Jonathan Majors, Jurnee Smollett-Bell and Courtney B. Vance .


Deadline,February 1, 2018:
J.J. Abrams Sci-Fi Drama ‘Demimonde’ Lands At HBO With Series Order
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